Posts Tagged ‘Pulp’

Monday, January 28th, 2013

Palma Violets, Decades, and Always at The Horseshoe in Toronto

Frank YangFor those not in the business of keeping up with the buzz bands of the moment, Palma Violets may not yet have appeared on your radar. Though the release of their debut album 180 is still a month out, they’ve already been heralded as the vanguard of the return of guitar rock – I didn’t realize it had ever gone away – and various permutations of This Year’s Model. A title which, while a tremendously helpful leg up as far as getting people interested goes, is also a decidedly two-edged thing as by its very definition, it means that next year it’ll be someone else. Perhaps this is was why they opted to stage a North American tour before their record was out or the buzz had necessarily carried over the Atlantic except to the most devout Anglophiles; they built their name in the UK based on their live show, so why not do the same over here? And so, motivated by curiosity and an urge to get the first show of 2013 in the books, even in the tail end of a frigid cold snap, it was to the Horseshoe I went last Thursday night.

Opening up were some familiar faces in Always – very familiar, as they’d also supported the last fewshows I caught at the end of 2012; such ubiquity from an act that had done its best to keep as low a profile online as possible. Each time out had been a little different, however – the full five-piece lineup that opened for The Joy Formidable was back following the stripped-down trio configuration that supported Joel Plaskett, and superficially frontwoman Molly Rankin was now very blonde. The tunes, as always, were indie-pop gems and with the full band back in place, it was a chance to again appreciate how well-arranged and fully-formed the songs were and their selection of The Primitives’ 1988 UK hit “Crash” as a cover was perfectly suited. Perhaps best of all, the online demos that went AWOL shortly after my first writeup on the band have now been replaced with properly-recorded versions that are meant for public ears to hear, so you don’t have to take my word for anything anymore – just go listen.

I’d spent the weeks leading up to the show assuming that the middle band on the will was this Decades – a metal band from Albany, New York – and not this Decades from right here in Toronto. Bands, let this be a warning for you and your generic names. Even when the five-piece took the stage and clearly weren’t metal-punk bros, their wildly-mixed aesthetic – flowery shirts, fedoras, medallions, hoodies, eyeliner – didn’t offer much guidance as to what to expect. When they started playing, however, it all came together as a well-studied blend of goth and New Wave that struck a good balance between concise and atmospheric and was over and done in under 30 minutes. They’d have benefitted from a cleaner mix – particular on the vocals and guitar – and a decision to either commit to or dispense with a look, but were enjoyable well beyond simply not being what I feared/expected.

The problem, as Palma Violets are likely to find as their coming-out party progresses through 2013, is the question that will be asked will not simply be “are they good?” but “do they live up to the hype?”. And based on the three singles they’ve released to date and this show, the answer from this quarter to the former will be “not bad,” but to the latter, “no”. Frontmen Sam Fryer and Chilli Jesson have a great energy and chemistry onstage and do a good job of engaging a favourably disposed audience, but they don’t have the same facility for melody or anthemicism as the band they’re most frequently compared to, The Libertines. Their approach is punkier and more willing to descend into noisier, thuggish territory which goes to the band’s good live reputation but ultimately and most importantly, the songs aren’t very memorable. Their biggest single to date – “Best Of Friends” – succeeded in inciting a bit of laddish dancing and singalongs, but there wasn’t much sense that they brought anything more to the game than all the bands that held their place in the spotlight in years past. This isn’t to say that 180 won’t still surprise and reveal new depths, but whether their career trajectory will go more the way of The Vaccines or Brother remains unclear.

NME reports that British Sea Power have completed work on their next album and will release Machineries Of Joy on April 1.

If you’d been hoping that the new old Pulp song that surfaced at the very end of last year might become available to purchase legitimately, rejoice – Artrocker reports that it should be available for iTunes download as of today (though not there at the moment, as far as I can tell). But if you’re happy with the stream, that’s cool too. Jarv ain’t fussed.

And normally I wouldn’t file a single tweet as news, but when it recounts Kevin Shields saying at last night’s My Bloody Valentine show as saying their new album would be available in “two to three days”… that’s news. You missed your 2012 deadline, Kev, but come through on this promise and all is forgiven.

Thursday, December 27th, 2012

Pulp, Wild Beasts, Frightened Rabbit, and more clear the closets for Boxing Week

PulpHope everyone had a nice holiday. Just popping my head up to clear the decks before taking seasonal cover once again. Because despite very little technically happening over the last few days, a few noteworthy things floated their way up to the top of the internet, not least of which is a new old song from Pulp.

Though the safe return to port of the S.S. Coachella last week marked the band’s final engagement for the foreseeable future, they don’t go back into hiatus without some parting gifts. Passengers on the cruise were given gift cards with download codes which as of Christmas Day were redeemable for a new recording of an old song; “After You” had existed in demo form for many years, but recorded properly in November and given finishing touches on the cruise itself by James Murphy before being released to the cruise passengers, and then via Consequence Of Sound, onto the internet at large. The exact vintage of the tune is unclear but it certainly sounds like it predates their Common People/This Is Hardcore/We Love Life golden age, but hey. New! Old! Pulp! Happy! Christmas!

Frightened Rabbit celebrated Christmas by giving away a holiday-themed track to their fans. Too late to make the caroling rounds this year, but an easy pick for your Christmas mixes next year. Their new album Pedestrian Verse is out February 5 and they play The Phoenix March 31.

In what may the musical equivalent of constantly hitting refresh on the FedEx package tracking page, many were all agog about the announcement that My Bloody Valentine had completed mastering their new album, and while it seems unlikely that they’ll make good on Kevin Shields’ promise to release it this year, it’s done – as in out of Shields’ hands – and that much closer to being a reality. Exclaim has some specifics and design house IMeUs has some of the artwork that they submitted for consideration for the album’s packaging.

Radiohead Bonnaroo is a site that was set up to share a soundboard recording of Radiohead’s 2006 headlining set at said festival, though for a working download link you’ll have to hit Consequence Of Sound or, by now, your friendly neighbourhood bit torrent site.

Editors frontman Tom Smith talks to The Daily Star about recovering from the departure of guitarist Chris Urbanowicz and their plans for their next album.

The Deer Tracks also offered up a Christmas gift to fans in the form of an unreleased track in both MP3 and video form. Their Archer Trilogy Pt. 3 full-length is due out on February 12 and there’s an interview with the band at MTV.

Hey, you know Color Me Obsessed, the Replacements documentary from a few years ago that featured no appearances from or music by The Replacements? You can now watch all two hours of it online. If you want.

Thursday, November 29th, 2012

The Joy Formidable and Always at The Mod Club in Toronto

Frank YangEven since they were very small and giving away downloads of their debut mini-album A Balloon Called Moaning for free in February 2009, The Joy Formidable have been huge. Huge in ambition, both sound- and career-wise, as evidenced by their massive-sounding full-length debut The Big Roar and the relentless touring schedule that surrounded it. Since their local debut in May 2010, they’ve been through Toronto a half-dozen times, including two nights this past week – Sunday night opening for The Gaslight Anthem at The Sound Academy and then on Monday with at a last-minute showcase at The Mod Club.

Since I’d seen the Welsh trio at their firstthree local shows, I was alright with missing their April gig at Lee’s Palace and the Gaslight show, but was pretty excited about the Mod Club one – they’d finally be showcasing some new material, what with a second album in Wolf’s Law already done and due out on January 22, and I had a feeling that their days of playing rooms as small as Mod were quickly drawing to a close.

Local openers Always have done a pretty good job of keeping their internet presence the polar opposite of the ubiquity implied by their name, but they’re actually far from anonymous, particularly if you’ve an ear for east coast pop. Frontwoman Molly Rankin had/has a burgeoning solo career in addition to being part of Nova Scotia’s most famous musical family, and guitarist Alec O’Hanley toured across the country countless times as part of Two Hours Traffic before departing last year. Assuming that their sound would be some mathematical combination of their respective roots- and power-pop histories would be unimaginative, though. Their experience with writing hooks and melodies was well-evident, but it was delivered in a vintage indie jangle-pop form, striking a good balance between low-key and bubbly and taking full advantage of Rankin’s Victora Legrand-ish sleepy vocal timbre – someone call Slumberland A&R, stat. Over the course of their set, they went from complete mystery to one of my top bands to watch in the city. For warm-ups, you can’t do much better than that.

In the year or so since I saw them last, The Joy Formidable have had quite the apprenticeship in playing arena-scale venues opening for the likes of Foo Fighters and Muse, and when you take into consideration the fact that they were a pretty explosive live act to begin with, it was reasonable to expect some fireworks. And based on the physical evidence, at least, they were equipped to do so. Having once again taken an interest in inspecting/dissecting guitarist rigs, it was hard not to notice that frontwoman Ritzy Bryan had traded her lone, albeit overflowing, pedalboard and single combo amp for a sleek, space-age floorboard with touchscreen tablet controls and an amplification setup that powered some 18 speakers. Arenas, remember?

But what makes The Joy Formidable so, well, formidable, isn’t the hardware – it’s the massive rock it’s used to move. Shoegaze with the wallflower personality excised in favour of extroversion, given shape in Bryan’s diminutive form (and crazy eyes) and huge guitar chops, with rhythm section Rhydian Dafydd and Matt Thomas doing commendable work in just keeping up. Their hour-fifteen set was split about evenly between Balloon/Roar material and previews of Wolf’s Law, although already being a couple singles deep into the album, they weren’t necessarily unfamiliar. And though the new stuff was arguably heavier and more indebted to classic British metal than the old, it all fit very nicely with the template that The Joy Formidable have been riding to success thus far. They might not necessarily be filling rooms much bigger than this normally, but they did an outstanding job of making the couple hundred in attendance feel like they were seeing something massive in an uncommonly intimate setting, and while I can’t say they’ll ever have the fanbase to fill a stadium, by god they already play like they do.

And if you didn’t manage to score tickets to this show, fear not – Bryan announced that they’d be back in April.

One of the early picks for UK buzz band 2013 – Palma Violets – are setting their sights on North America early; they’ll be at The Horseshoe on January 29 – tickets $12.50 – well before their debut album arrives on February 25. They’ve got kind of a Libertines thing going on, which I guess is about due to be fashionable again what with next year slated to be the “Year of the guitar” or some such nonsense.

Veronica Falls are keeping the fires of anticipation stoked before their second album Waiting For Something To Happen is finally released on February 12 – they’ve announced a North American tour for next Winter – look for them March 12 at The Garrison – and released a video for the first single from the new record.

The Quietus talks to Mogwai about their latest projects, including soundtracking a French zombie television show. Because someone has to.

Those hoping that that last couple years’ Pulp reunion might be an ongoing concern or even yield some new music, sorry – NME reports that Jarvis Cocker has basically declared it as having run its course. We’ll always have Spain.

But wait, Britpop fans refusing to stop reliving their youth cry out, what about Blur? They’re not breaking up! No, but as The Line Of Best Fit reports, Graham Coxon put the kibosh on a new Blur record; that’s fine – intermittent singles the quality of the last ones will do. Definitely coming out next week is Parklive, the live document of this Summer’s Hyde Park show in London, and they’ve released a video clip of the final song from that show; if they had indeed called it a day, well and forever, with this show, these would have been the perfect notes to finish up on.

Wednesday, April 18th, 2012

Emmy The Great gets even more Virtue-ous

Gabriel BruceI’m no fan of the deluxe reissue trend – at least not with respect to an album that came out less than a year ago – as it tends to punish the biggest fans, those who would have bought the original issue and most want whatever bonus materials are applied to the reissue. So while I don’t greet the news that Emmy The Great is doing this with last year’s Virtue – one of my faves of 2011 – I at least appreciate that some of the bonus material will be made available separately.

The fancy edition of Virtue will be out on May 7 and include three unreleased songs from the sessions for the album and a cover of Mazzy Star’s “Fade Into You”. One of those songs – “God Of Loneliness” – will also be released that day as a single with the Mazzy Star cover as a b-side so if you don’t want to repurchase Virtue, there’s that option. Though you know those other two tracks will indeed taunt you with their very existence. To also go along with the occasion, they’ve also commissioned four comic strips to go with it all – the first is up at The Line Of Best Fit – and four remixes that are being made available to download for free. And oh, there’s a video/black comedy mini-movie for the single.

Interview talks to Anthony Gonzalez of M83, who’re in town not once but twice this Summer – May 6 for a headlining show at the Sound Academy and August 4 at Historic Fort York co-headlining the HARD festival with Justice.

Pitchfork reports that jj have commissioned a video to go with their latest release jj n° 4, out on May 8.

If you’re one of the unlucky many who haven’t gotten to see Pulp on their reunion tour, here’s the next best thing – a couple of complete, professionally-shot videos of their sets at Reading Festival last Summer and Coachella this past weekend.

Tuesday, April 10th, 2012

Review of Lightships’ Electric Cables

Cat StevensloresThe general assumption as to whoy Teenage Fanclub release albums so infrequently – 2010’s Shadows was just their third effort in the 21st century, assuming you count 2000 as part of this millenium – is that despite having three superb songwriters in their ranks, they just work very, very slowly; if this is true, then clearly bassist Gerard Love isn’t the limiting factor. Based on Electric Cables, the debut album from his solo project as Lightships, he has no shortage of songs at the ready and most are as good as anything he’s contributed to the Fannies over the past decade.

Backed by a band of Scottish all-stars recruited from Teenage Fanclub, Belle & Sebastian and The Pastels, Love has crafted a record of gorgeously bucolic pop songs marked by Love’s airy vocals and guitar and flute lines gently bouncing off of one another. The notes aren’t content to simply jangle and decay, but rather hang suspended, shimmering in the air. Cables possesses enough energy and buzz to keep from coming across as too ephemeral, but the prevailing vibe is the return of and a return to nature and given the prevalence of pastoral themes in the song titles – “Photosynthesis”, “Sunlight To The Dawn”, “Muddy Rivers” to name a few – one can only assume that this is deliberate and not just a happy coincidence.

Let this be your soundtrack to Spring, and if it just so happens to linger in your ears through the rest of the seasons, then so be it. Norman Blake may have been first with his breezy Jonny side-project and while he’s not fronting it, it’s good to see Raymond McGinley active extra-circularly in Snowgoose, but Lightships is what every Fannies fan hopes for in a Teenage Fanclub side-project in that it sounds like Teenage Fanclub. Which is to say beautiful.

Pitchfork points out that Field Music are streaming their contribution to this year’s Record Store Day release schedule; a 7″ featuring a cover of Pet Shop Boys’ “Rent”, which kicked off a mini PSB marathon over these parts; never a bad thing.

In the, “karmic balance for Anglophiles” department: Jarvis Cocker and Kevin Shields, in conversation with Shortlist and Pitchfork respectively, reveal that new material from both Pulp and My Bloody Valentine could be in the works – Pulp were also on Late Night With Jimmy Fallon last night – but Damon Albarn tells The Guardian in very few uncertain terms that Blur – and Gorillaz if you care about Gorillaz – are probably over following a final single and the Hyde Park show this Summer. DIY looks at what the definitive end of Blur would mean for the band’s legacy.

New to my ears lately are Swedish duo The Deer Tracks, whose two mini-albums so far – The Archer Trilogy P1 1 and The Archer Trilogy Pt. 2 (part three is out this Fall) – remind me not a little of early Múm, which is a good thing indeed. Also good is their North American tour this Summer is missing a Toronto date at the moment, but there’s a conspicuous two-day gap between Chicago and Montreal that just happens to fall during NXNE. So yeah.

Pitchfork reports that another co-ed Swedish duo with a penchant for electronics – jj – will release a new single/EP/something entitled jj n° 4 on May 8, and the first track from it is now available to download.